How To Build A Girl Book Review

Caitlin Moran's book How To Build A Girl is a fantastic story. It is set in the early 1990s and starts out with our main character, the wildly ambitious Johanna Morrigan, living in a cramped council flat with her family. 

Johanna is extremely frustrated and dissatisfied with her life and also herself, so much so that she decides to reinvent herself as her confident alter-ego Dolly Wilde. This is where the title of the novel comes into play. In the process of dismantling Johanna Morrigan and building Dolly Wilde in her place, she is quite literally building herself as the kind of girl she aspires to be, and whom it may just be possible to become. Her reinvented self is crazy and cool and charismatic. We watch as Johanna Morrigan's Dolly Wilde's appetite for excitement and adventure gradually grows more and more until eventually she leaves her family, becomes a music journalist and travels down to London. 

It is in London where Dolly is met with a barrage of new experiences. She is suddenly thrust into the male-orientated world of music journalism where she is the only female who works at the magazine that she writes for, and also the youngest person there by far. Due to this, she is incredibly vulnerable and also thrown into the deep end of a life that she has no idea how to live. Inevitably, this sends our protagonist headfirst into some excruciatingly embarrassing (yet equally hilarious) moments. However, despite the humiliation-inducing experiences that she faces, Johanna still remains a very strong character in terms of her (unwavering) confidence. 

It's an indelible fact that some of the people she works with do take advantage of Johanna. Perhaps she is a target because she is female in an invariably male-dominated industry, perhaps it's because of her young age or perhaps it's due to her general naivety towards adult life. Likely, these are all factors that contribute towards how she is manipulated by some of her work colleagues. There's also the possibility that her working class roots led others around her to wrongfully see her as an easy target. 

Talking of working class roots, there is a massive clash between her old life in Wolverhampton and her new life in London. Her work colleagues don't necessarily realise the divide between these two chapters in her life, especially as a lot of them come from privileged backgrounds. Back home her family is on benefits. There is a section at the start of the novel in particular where she goes to the library and can't afford to borrow a CD for 20p. It contrasts so vividly with her life in London where no one really knows what her normal is, or how she is used to living. 

Johanna decides that the best way to fit in with her new surroundings and peers is to maintain the 'Dolly Wilde' façade... so she continues adding things to the story and persona of Dolly Wilde, moulding what is essentially a made-up character to fit what everyone else thinks she should be, and running further and further away from her true self. 

It's not that she's ashamed of her background, more just that she was so frustrated by that life that she wants to shed all of it and be this wondrous, awe-inspiring woman that everyone likes and whose name is Dolly. In order to achieve this, she has to test the waters to see what people like and what people don't like. So she says things, and depending on people's reactions, she decides if that's the type of thing Dolly should keep on saying or not. She has to do all this research to decide how she should build this new, improved, more exciting version of herself. It's not until the end of the book that she realises that she doesn't need to reinvent herself. She doesn't need to change how she is to fit in. She can just be Johanna Morrigan- an important reminder to be yourself, even when the temptation is to do the opposite. 

This book captures the feeling of teenage frustration- feeling trapped somewhere and wanting to escape but not quite knowing how to- so well. There is a lot of 90's music and pop culture references that I didn't always understand, but overall this didn't hold the story back, because the emotional themes within the book (which explore what it is to discover who you are as a person and who you want to be) were so engaging, that it balanced out the sections that the barrier of age prevented me from understanding. 

By Frances Hudson

How John Green Subverts The 'Manic Pixie Dream Girl' Trope In 'Looking For Alaska'

I recently read the book 'Looking For Alaska' by John Green and i'm currently working my way through the TV series. 

For those who don't know, John Green has a reputation for writing a certain kind of book, or at least writing characters in a certain type of way. According to popular belief, the majority of his novels seem to follow a certain trajectory which goes something along the lines of this: hapless, nerdy, teenage boy experiencing issues at school or with his love life- or just having major philosophical and existential troubles in general- saved by adorable, quirky girl who is not even much of a character, just more of a plot point to further the story of the aforementioned boy character's growth. What people often don't mention is that although Green does conform to this trope of the notorious 'manic pixie dream girl', he also subverts the trope in such a way that demonstrates how harmful it is to view people as nothing more than two-dimensional characters only there for the benefit and growth of other characters. 

Green's debut novel, 'Looking For Alaska' is no exception to the stereotypical formula of the 'manic pixie dream girl' and the 'teenage boy in the throes of an existential crisis' that has come to be associated with his work. The book follows the story of Miles Halter (otherwise known as 'Pudge') who leaves his regular life to go to boarding school. It is there where he meets a whole range of new people including- most pertinently, as the novel's title would suggest- Alaska Young, who is a 'manic pixie dream girl'. The difference between this manic pixie dream girl compared to others is that Green does seem to be aware that he is portraying Alaska as a manic pixie dream girl and seeing as the novel is written from the perspective of Miles who is arguably quite selfish, it does make sense to portray her with the idea that she is just a girl to fall in love with, rather than a fully-fleshed out person with her own hopes and dreams, as that is how Miles would see her. Besides, perhaps it's a bit too harsh of me to suggest that Alaska is not a full-fleshed out character. She is, and actually there are some interesting aspects of her backstory that we learn about her, such as her Mother's death when she was a child and how she blames herself for it, which have clearly shaped her as a person. It's just that there is less of a focus on her character as an individual and more as an idea, or even as a fantasy that Miles has created. And I think that this is the point. She is obviously meant to be mysterious- that in itself is suggested by the title: 'Looking For Alaska'... She is an enigma which can't be found. This all adds to her allure and feeds into her 'manic pixie dream girl' status. 

In terms of the novel structure, the book is split into two sections: 'Before' and 'After'. Of course, when you're reading the story it's unclear as to what the 'Before' and 'After' is referring to but you are aware that you are counting down towards something as each chapter is titled with however may days before and after the 'event' it is. I think this is a really clever idea because the 'Before' section builds suspense and tension as to what the 'event' is, and the 'After' section shows you how Mile's mindset changes the further away from the event he gets and the more closure he receives. As for the event itself, I found it totally shocking. Whilst you presume that the event has something to do with Alaska, seeing as that is the title, her death still came as an absolute surprise to me. And the unexpectedness of it, made me relate to the characters so much more who were also dealing with the shock of her sudden death. 

The ambiguity over Alaska's death- whether it was an accident or suicide- is what the 'after' section focuses on. We see how the characters,  particularly Miles- come to terms with her death, what it means to them and we also watch them attempt to unfold the mystery of if she killed herself/why she killed herself. Her death acts as a major plot point in the novel which prompts a lot of character growth from Miles, who essentially gets to live with the deluded idea he had of her- that she was perfect and only had feelings for him regardless of her long-distance boyfriend. Her death means that she isn't there to either deny or confirm Mile's presumptions and so he can believe in the flawless version of Alaska that exists in his head, all he wants. This enforces the manic pixie dream girl concept. Even though it is a main part of the story, it does perhaps feels slightly wrong that Alaska's death happens primarily so that Miles can grow as a character. But this again is the point, as it forces Miles to realise that Alaska was just a normal girl and not this amazing, perfect person he had built up in his head. Even the other characters in the book acknowledge that Miles' view of Alaska was distorted.    

Essentially, the 'manic pixie dream girl' trope is not necessarily a bad thing if it is used to teach a lesson about how we think of/view other people, and I think that this is how Green intends to use the trope. Whether or not he is successful in this is down to personal opinion. It's important to point out that Green is not the only purveyor of this trope. The whole concept of the 'manic pixie dream girl' (as described earlier) is rife in multiple forms of media and there are abundant forms of this genre of character through out much young adult literature. Whilst this is the point, there is often no real reason for it, whereas I think Green manages to utilise the trope in a way that shows why it is harmful.

The end of the novel is quite emotional and I think it does subvert the 'manic pixie dream girl' trope in a positive way as Miles comes to realise that his image of Alaska was not necessarily true and that her vulnerability and delicate nature- something he had attributed as aspects of her beauty- were what led to her tragic end. John Green builds a manic pixie dream girl and then takes her apart, showing why it is a harmful way to view women, like he does in other novels of his, such as 'Paper Towns'- one of my favourite novels. And 'Looking For Alaska' is a fantastic novel as a result, and one that I would thoroughly recommend.  

By Frances Hudson 

The Strawberry Dress

The dress is infamous. From the legions of Instagram posts and viral memes the aptly-termed 'strawberry dress' from Lirika Matoshi has been enjoying wild popularity. As far as trends go, the strawberry dress won't be the first, nor will it be the last item of clothing to generate such a frenzy. Yet, somehow, this strawberry-sequinned, pink tulle dress does feel different to other buzz garments that have briefly taken over the internet and our brains. Trends always come and go, that's just the way fashion works. As the revered Heidi Klum points out, when it comes to fashion "One day, you're in and the next, you're out". But not many trends culminate in the midst of a global pandemic. The general question: 'how do items of clothing skyrocket to such intense levels of fame?' is a difficult one to answer. But add to that the complications of a global pandemic and you have the origin story of the strawberry dress's popularity. 

The pandemic didn't completely halt the fashion industry. Yes, fashion has had to adapt. It's undoubtedly different to how things were before the Coronavirus pandemic, but the show must go on- and this is a sentiment that fashion has adopted, creating new, innovative ways to work under the conditions that 2020 threw at the world. From showcasing new clothing collections digitally to magazines shooting editorial images and lookbooks over Zoom, fashion is not stopping. It's the same for trends. Although the pace of trends has perhaps slowed down (which can only be a good thing in environmental terms), they are still very much thriving. In fact, most trends have centred around the world's current pandemic state. The start of 2020 saw a 49% spike in sales of loungewear, according to FashionUnited UK, in accordance with the fact that lockdown left the majority of people not allowed to leave the house, even to go to work. Working from home suddenly afforded us the opportunity to ditch our more formal 'outside' clothes for more comfy 'indoor' clothes. 

However, the strawberry dress broke this pattern. The dress can most certainly not be considered as loungewear and errs far more on the side of chic sophistication than the casual nature of other lockdown trends. It's more appropriate for parties, or even red carpet events as model Tess Holliday proved at the 2020 Grammys in January. So why did this dress become so popular in a time where the majority of clothes people were buying, and indeed wearing, were primarily concerned with comfort over chicness (sweat pants, hoodies and the like)? There may not be an exact answer, but the likely truth is that the strawberry dress acted as an escape from the gloom reality of the pandemic. There's nothing wrong with loungewear, in fact sometimes leisurewear can be preferred to the effort of other, more 'presentable' outfits, but when loungewear became all we wore, we needed to find a way to escape the boredom and tedium of the monotonous pattern of our days. The strawberry dress offers that. 

The dress also reminds us of a time before Covid where we had reasons (or could, at least, find reasons) to get all dressed up and go to places- a concept which currently feels contrastingly alien. Now, if we want to get dressed up it's usually just for the sake of it and the only events scheduled in our diaries are all either on Zoom or non-existent. Whilst it's sometimes just fun to get dressed up for no inherent reason, there is a certain thrill to make-up and fashion when we know that we have somewhere exciting to go, and this experience has not been afforded during lockdown. The strawberry dress however, is so mesmerisingly fairy-tale and princess-like that it allows the wearer to step outside of the stark reality the world is presently facing and rather creates the illusion of being the kind of dress one would wear to a party, even though that is abundantly not the case at the moment as parties are not currently allowed. Still though, the strawberry dress achieves in manifesting this sense of joy and glee that has been mainly lacking during these unprecedented times, in a way that not many other clothes have managed to do. The elegance and opulence that comes with the dress has provided us a welcome break from wearing lazy tracksuit bottoms and mismatched hoodies all the time. Perhaps this is why the strawberry dress has cemented itself as such a wildly popular garment.   

By Frances Hudson

Golden Globes Controversy

The Golden Globes are meant to be a celebration of all the good that has gone on in the film industry over the last year, rewarding and shining light on the best television and films that have alighted our screens, dishing out accolades to everyone who deserves it in the film industry. For the most part, the Golden Globes  achieve this, despite the obvious difficulty of clashing opinions. Awards ceremonies are essentially just a jumbled up assessment of peoples' attitudes- good or bad- towards everything in film over the last year with the final nominations, winners and losers decided by a select few. Inevitably, there will always be some disagreement regarding decisions made by the Golden Globes because opinions are subjective, and what makes a show/film good or bad relies on personal preference. Just because a certain film received a certain award, it does not guarantee that everyone will like it. Some controversy will always ensue over which show/film was or wasn't nominated and which show/film should have won. It is perhaps understandable given the dubious nature of past decisions that the Golden Globes have made, such as the 2020 scandal where no female directors were acknowledged despite it being a year where many female-directed films met major critical and commercial success. There's also the fact that some of today's most classic films, that have stood the test of time, lost out at the Golden Globes when they were first released. It proves that these award ceremonies should not be treated as shiny highlight reels detailing what to watch or not to watch from the past year.  Many of the winners, it would appear, only win based on shallow merits of fashion or politics, a clear example of which is this year's omission of Micheala Coel's fantastic television show I May Destroy You in favour of Emily In Paris. 

It has proved a sizeable mistake, evidenced by the outrage and backlash the Golden Globes has consequently found itself the recipient of. Even one of the Emily In Paris writers has come forward to say that it seemed wrong that I May Destroy You didn't feature in Golden Globes nominations whereas Emily In Paris did. Perhaps the Golden Globe's strange decision to exclude Micheala Coel's amazing television drama 'I may destroy you' in favour of the light-hearted, heavily ridiculed Netflix series 'Emily in Paris' is a reflection of the intensely strange last year we've had, a testament to the tumultuous experience the world has faced. But frankly, it just seems wrong that the groundbreaking I may destroy you has not been nominated at all, whilst Emily In Paris has. It's not that Emily in Paris is a bad show. In fact, it provided many some light-hearted relief in these dark times and it should be recognised for that. But I May Destroy You is a serious masterpiece that undoubtedly deserves recognition and that shines a light on important topics. Not being nominated for a Golden Globe doesn't lessen the show's impact or Coel's brilliance at all, it just showcases the ludicrous absurdity of the Golden Globes. 

In more positive news, this year the Golden Globes nominated three female directors- a substantial improvement on last year. Out of the 78 years the Golden Globes has only ever nominated 5 female directors, so at least the awards are improving in respects of diversity which suggests hope for the future.     

 By Frances Hudson 

What Is Culture?

The word is bandied about,

Stuck on white walls in galleries under colossal paintings.

Hiding in the small print of those tiny, shiny placards,

Those work of art descriptions,

rolling off the tongue of supposed intellectuals constantly as they nod their heads vehemently,

Agreeing with the inscriptions,

Clutching delicate wine glasses whilst hands gesticulate wildly and red-wine stained lips articulate mildly: “Yes, it’s a cultural phenomenon”

“Cultural masterpiece”

“Very cultural”

“Yes, it really showcases the artist’s cultural identity”

“Culture”, ”culture”, ”culture”.

When all the quotes on the back of classic novels and popular contemporary literature consist of “cultural masterpiece” or “pioneer of culture”,

When the world seems to revolve around celebrities spouting stupidity to spark some controversy which will unleash the cancel culture, 

When the culture of hate that exists on social media criticises and abuses and chips away at confidence in poisonously angry comments,   

When a person’s opinion is reduced to nothing more than their background, their upbringing, their culture,

What does it actually even really mean?

It’s taken so out of context, blown way out of proportion.

The truth is that culture can be anything,

In biology the term ‘culture’ refers to the cultivation of cells stored in just the right conditions to thrive...

And this is basically what all cultures and subcultures are: a collective that starts out small and grows when provided with the correct ingredients to flourish. 

Punks, hippies, bikers, goths, emos, beatniks, 

Each with their own music and interests and style and language,

Culture is not just some random term that is lobbied about to give off the sense of high-brow sophistication or to create an aura of academic intimidation

And it shouldn’t be about haters smearing their cruel critiques across the internet. 

Culture is whatever you want it to be.

By Frances Hudson

Why Books Are Amazing!

 I really, really love books. The outstanding majority of them-with a few key exceptions- are brilliant (although even the not-so-great ones are still valid. Just because a book doesn't fit someone's 'what makes a good book' criteria, it doesn't mean that it won't be the most amazing book for somebody else) . There is something so satisfying and valuable about appreciating different forms of literature.Whether it's novels,  plays or poems, literature is amazing because it opens up a whole new world where anything can happen.

In particular, books are like magical vessels of imagination waiting to be unlocked which can transport you to parallel universes. They can take you away from a miserably grey, grim, rainy day where there's nothing to do and instead send you on crazy adventures, in far-away lands. Books may only look like a stack of harmless paper bound together but, in reality, they are so much more than that. Books can make you feel sky-high with joy and hope, they can slice fear into your heart (don't read horror novels before bed), they can make you cry- out of sadness or happiness, they teach us lessons and entertain us. Don't underestimate books. They are powerful. 

By Frances Hudson  

Tess Holliday on the Cover of Cosmo

The 2018 October issue of UK Cosmopolitan magazine should not have sparked the potent level of controversy that it did. For starters, it appeared in exactly the same format as any other Cosmopolitan magazine cover (indeed, it was presented in the same way as most other mainstream magazine covers). The front cover featured a list of articles concerning the usual topics... fashion, beauty, dating and so on, that graced the glossy, interior pages of the magazine. The cover also boasted a glamorous cover girl in the middle of the page- like any other edition of the popular magazine. Nothing new. But this Cosmopolitan front cover set off a tsunami of dissension, a ripple of shock waves that emanated in the form of an angry debate. You might be asking, what on Earth could cause such drama? such immense contention? The answer: because they put plus size model Tess Holliday on the cover. 

For those who don't know, Tess Holliday is a UK size 26 model from America. Her cover girl status marked a significant milestone for Cosmopolitan UK as she was the first ever plus-size model to be featured on their front cover. For many, this was an incredible moment. A lot of young women read magazines as they are growing up, which often promote unrealistic beauty expectations, covers plastered with the latest, greatest manifestation of 'perfect'. Wafer thin models: impossibly perfect and impossibly skinny with impossibly long, blonde hair and impossibly straight, shiny, white teeth. In a society where an inordinate heap of pressure is placed on women to look a certain way, where young women are scrutinised from an early age and judged wholly on their appearance until they are trained to be self-conscious of how they look, it felt (and still feels like) a massive win to finally see some positive representation of a different body type. At the time of the magazine's release, some people rightfully revelled, happy that the magazine cover had an image that proves to young women that they don't have to be a size zero to feel beautiful. It acknowledged that there are many different body shapes and sizes, a new phenomenon for a lot of women magazines. Imagine an alien from a planet far, far away has to gather as much information on human beings as possible, ready for some tawdry intergalactic space invasion targeting planet Earth, and the only information they were given about the female species came from magazine covers. It's disconcertingly disturbing that before the front cover of Holliday, they would probably think that all women were the same skinny size and lithe, athletic shape... when truthfully this just isn't the case. 

It's really important that people- especially young, impressionable girls- are taught that they don't have to be skinny to be gorgeous, that they can love themselves no matter what. And this crucial lesson was finally, successfully shown with Holliday's cover.

However there were some people who chose to criticise. They saw Holliday's cover as an attempt to promote obesity and to encourage an unhealthy lifestyle. Their blatant outrage at the fact that Holliday graced a magazine cover was vociferous. The haters hid behind their computer and phone screens, taking to social media to lambast Holliday and the magazine itself for teaching young girls that it was 'desirable' or 'healthy' to be overweight. Of course this is ridiculous. It was not the magazine's intention to promote obesity or anything of the sort. Rather, they were trying to show young girls that they can still love themselves no matter what their weight is or whatever perceived 'imperfections' they have that society has labelled as 'wrong' or 'incorrect'.

I think that the people who possessed that wild, uncontrollable, utter rage at Holliday's cover conveyed a multitude of insecurities. Instead of painting Holliday as a villain, their hatred of her success simply showcased their own issues, speaking volumes more about their envy towards the woman who doesn't care what they say about her. Under the surface, their mean comments aren't even really about Holliday's weight or the stupid notion that the magazine cover was encouraging obesity. It was more the fact that Holliday was confident in her appearance and her abilities that wound the haters up. Holliday wasn't (and still isn't) ashamed of her weight. She isn't broken up over her size, she doesn't torture herself with harmful diets where you're only meant to eat 100 calories a day or something equally as moronic as that. Rather, she's a body positivity advocate.

The people that claim Holliday is trying to 'recruit' members to her 'obesity club' are the kind of people that are, in a sense, jealous of her confidence, poise and her unapologetic, unconditional love of herself.  

By Frances Hudson   

 

Why Homework Should Be Banned

I know I'm not the only one who feels strongly that homework should be banned. In fact I think if you were to go around surveying everyone on their opinion towards homework, the general consensus would be a resounding 'NOOOOO!!!!!!'. This, quite frankly, is because the majority of people hate homework. Yes, hate is a strong word- but I fear that it may be true when used in association with the word 'homework'. The evidence against homework is fairly strong: Children hate homework because it eats up the time that could be spent on doing actually enjoyable things, teachers hate homework because they have to spend hours marking piles of the stuff rather than doing what they actually want to do and parents hate homework because it takes up their time, leaves their children grumpy, miserable creatures and inevitably is used as a petty hierarchy system for the 'who is the best at parenting' competition in the school playground at pick-up time. Essentially, it's a lose-lose situation for everyone involved. Here's why:

Homework encourages a mindset which promotes overworking and places a heavy emphasis on the 'work' aspect of work-life balance. This is unhealthy, both physically and mentally. There is more to life than than just work, work, work. I'm not denying that work is an invariably essential element of life- you have to do it and children should be taught the value of work. But there are healthier ways to show the importance of work rather than setting children hours of homework on top of an already tiring six hours of school a day (not to mention the extra-curricular clubs students are expected to participate in as well). Everyone- including children- needs to have some time to rest. It's crucial for mental health. When you take into consideration the gruellingly long academic day and the accompanying piles of homework mounted on top, it becomes painstakingly evident that children aren't afforded much time to switch off. 

Arguably, it could be suggested that homework teaches discipline. However, it's also important to remember the fact that some children aren't fortunate enough to have access to the same resources that other children are privy to. Some parents aren't in the position where they are able to spend as much time and attention on helping their children with homework as other parents may be able to. This unconscious bias does affect homework grades and overall academic performance. Rather unwittingly, homework adds social and economic class into the equation of children's grades. 

And perhaps most potently, imagine being forced to spend your free time doing something that you passionately hated and that chipped away at your confidence. For some people academia is extremely disheartening and every minute spent with pen in hand, poised over a blank exercise book page willing the work to all make sense, heartbreaking. Obviously education is enormously precious and everyone privileged enough to be able to go to school should. Yet there comes a certain breaking point for those who know that academia is truly not for them when they have to give up their free time to do homework, when they could instead be doing something that is to them more productive to what they wish to do with their lives.

It's clear that homework has a lot of negatives. Should homework be banned? Well, it depends on whether or not you believe the pros outweigh the multitude of cons.

By Frances Hudson    

Notes On An Exhibition By Patrick Gale Book Review

 I loved 'notes on an exhibition' by Patrick Gale. I think it's an extremely well-written book. Not all the characters in the novel were necessarily likeable. In fact, as a reader, some of the character's dubious actions are difficult to agree with. However the characters were all written in a very authentic and real way, which allowed the reader a chance to sympathise with them and understand the choices that they made. Each chapter of the novel begins literally with a note from an exhibition regarding the main character's artwork (the main character is a successful artist and the book revolves around the trials, tribulations,events and impacts of her life). The following events of the chapter then all relate to whatever the note was, which was a very unique and interesting way to structure the novel.

The difficult theme of mental health plays a major role in the story. The author manages to tackle this theme with both the seriousness it deserves and eloquence.  

I don't want to say too much and give away the plot of the story. The intricacies of the book are certainly difficult to explain without giving away too much information so I'll just say this: the book is extremely enjoyable and I would highly recommend it to anyone, especially those interested in art or art history. Although the book is fictional it does contain 'characters' that are actually real life artists such as Dame Barbara Hepworth (although I believe the accounts with her character are purely fictional despite the fact that she is a real person). 

As for the novel's ending, it is a strange way to end the book. Ultimately it all draws to a satisfying conclusion. All the loose threads are tied up, no questions left to ask, no pernickety plot holes or unturned stones left... to an extent. However, not all the problems are fixed with a solution. Although all the characters are at a suitable point for the story to end, there is still so much more about them that remains unknown. Perhaps it doesn't make much sense for all this additional information about the various characters to be squished together at the end of the novel because that would probably feel very cramped and incoherent. It also wouldn't necessarily flow smoothly with the format of the novel, which jumps between perspectives of different characters at different times and different stages of their lives. However, it would be really interesting if there were to be a follow-up to this book, explaining what happens next and I would genuinely love to read that. 

By Frances Hudson 

  

The Patchwork Trend

 Social media is classically a reliable way of gauging current fashion trends. Chances are that if there's a particular outfit or style continually cropping up on your explore page or unabashedly splashed all over your Instagram feed, then it officially maintains 'trend' status. Trends are like narcissistic acoustic-guitar players who insist on playing covers of Oasis songs at parties... they like to make themselves known. They are not shy creatures. A sentiment proved by the recent 'patchwork' trend reverberating through the depths of social media, which is certainly no exception to this rule.

The patchwork trend is a culmination of a number of factors including the sustainability movement, the revival of Y2K style and the comfort we crave during this pandemic. There is no textbook patchwork garment either. In fact, the only qualification necessary for a garment to pass as a legitimate member of the patchwork genre is for it to consist of a mixture of different fabrics and colours held together by bright contrastingly-coloured thread. 

Nowadays, the importance of sustainability is paramount. Everyone is aware of the dangers facing our planet and even in a time where the fog of utmost uncertainty is shrouding the future, we at least know one thing for definite. Change has to be made in order to rescue the planet. The UN Conference on Trade and Development considers the fashion industry to be the second most polluting industry in the world, a statistic that makes the emergence of new trends feel futile and wasteful. However, this is not the case with the patchwork trend with it's penchant for upcycling. One of the major joys of the patchwork trend is that it can be friendly to the environment, if chosen it to be. The trend can easily be achieved via recycling old unused garments or leftover swatches of fabric. The trend's rampant encouragement to reuse and recycle old fabric and material can only be a good thing. Besides, it also permits the trend to be as accessible as possible to... well, just about anyone.       

In the time of lockdown, where our sartorial choices revolved entirely around comfort (hoodies, tracksuit bottoms, old jumpers littered with crisp crumbs and chocolate stains), it does feel somewhat alien to have to revert back to how things were before. Now that we're allowed to venture outside again, the thought of begrudgingly swapping our beloved leggings for some seemingly more fashion-centric  jeans, is not appealing. However the patchwork trend offers a solution to this problem. The trend comes in a range of different clothing options... jackets, dresses, skirts, trousers. On a smaller scale there are patchwork accessories as well: bags, headbands, scrunchies, handbags. The look is easy to achieve, catering to our lockdown mentality of comfort and ease, but alternatively looks well thought out and suitably put together.   

The patchwork trend, for some unknown reason, evokes a deep sense of nostalgia. Perhaps because of it's similarity to patchwork quilts that would not be amiss in a Grandma's house, transporting us back to our childhood. More likely, it is the undeniable links it holds to Y2K style. In a time where the future remains overwhelmingly uncertain, it is easy to find solace in trends of the past and it appears that this is what has happened with the patchwork trend.

It is clear that the patchwork trend is popular for a number of reasons. The question is what do you think about the trend? and will you indulge in it?

By Frances Hudson       

Faded Rainbows

 Faded rainbows  in the windows.                                                                                       Colourful inky drips dribble down the doors,                                                                         'thank yous' washed away with rain,                                                                                         float silently down the drain,                                                                                                   paper rainbows scattered on the floor,                                                                                    streets that are quiet,                                                                                                       reminiscing cheers, claps and joyous screams,                                                                       tokens of appreciation trapped in sound bubbles,                                                                      drift up into the atmosphere causing no troubles,                                                                   sliding out of our consciousness and away from our dreams.                                                     But we must not forget.                                                                                                                we must not allow the rainbows to fade in our hearts,                                                                   we must continue to thank our brilliant NHS,                                                                             and the fire service,                                                                                                      supermarket cashiers,                                                                                                              carers,                                                                                                                                          the taxi drivers offering up their cars,                                                                                            to take key workers to their destinations when they had no other form of transportation.           The rainbows can not fade,                                                                                                           It is our duty as a nation to ensure they do not fade and although we no longer clap on Thursday evening to show our gratitude,                                                                                                     we can still stand up for our national health service,                                                                    we can still thank our key workers,                                                                                              we can be proud, upstanding citizens with caring attitudes,                                                measuring our thanks in the length of platitudes.                                                                       After all, we need these vital services,                                                                                     they're essential to our wellbeing and health,                                                                        imagine only having them if you were imbued with a particular rank of wealth,                          we can't afford to lose them,                                                                                                      can't afford to distract ourselves with social media or reality TV when reality is staring us in the face and not looking too pretty,                                                                                                    no watching Love Island when this island that we live on is in desperate need of some love itself. It's important to not forget,                                                                                                           it's a difficult time- we're all doing our best,                                                                                but no matter what we must not forget,                                                                                        we must not let,                                                                                                                            the faded rainbows on our windows and our doors be laid to rest.  

An Original Poem By Frances Hudson 

  

 

Will The World Ever Get Back To Normal After Covid?

The Covid-19 pandemic has affected, in some format, everybody and everything. It has triggered an avalanche of devastating consequences. Shutting down businesses, locking everyone indoors, damaging jobs and economies, striking fear into the hearts of everyone worried about both their loved ones and themselves contracting the virus, sending everyone into corona-fuelled existential crises asking 'what next?' and perhaps more pertinently 'will the world ever get back to normal after this?'... I don't know the answer to the first question. I can't see into the future. There is no miraculous crystal ball able to warn us of what is going to happen next and even if there was, anyone who has seen the  'Back To The Future' films is aware of the danger of knowing our futures (as Doc avidly teaches Marty, it disrupts the space-time continuum). Despite not knowing the future, I do (obviously) know the past which provides some insight into the answer for the second question: will the world ever get back to normal? The long answer is complex and nuanced. The short answer is an almost definite no.  

The world will probably never resume back to complete normality... whatever 'normality' is anyway. What I mean is things may never return exactly, hundred percent back to the way they were before the pandemic. But that's not necessarily a bad thing.

The pandemic forced us all to step back from our usually busy, bustling lives and re-evaluate what really matters to us. Working from home of course led to a range of challenges and difficulties, but also enabled everyone to spend more time with their loved ones, in a period where connections with others was of the utmost importance. The lockdown has shown people the importance of spending time with loved ones rather then focusing only on work. And clearly work is important. We all need to make a living and support ourselves and our families in some way. It goes without saying that work shouldn't be neglected or ignored in favour of other more entertaining activities as that's just not a sensible thing to do... however the lockdown has shown the importance of achieving a healthy work-life balance and of making time for loved ones.  

Environmentally the pandemic actually resulted in some beneficial effects. Lockdown resulted in a decrease of carbon dioxide emissions, lowered pollution rates and an improvement in air quality. A sudden soar of wildlife encapsulated the world whilst tourists were away. The issues surrounding the environment, what with global warming and climate change being brought increasingly more to our attention, evidently call for action to save the planet. Immediate action. (There is, after all, no 'planet B'). It appears that the pandemic, however, has paved the first small steps towards a better environment.  

So no, things will most likely not return to the same, typical 'normal' we were acclimatised to before this devastating virus. Change is inevitable, and necessary. The future is uncertain but we know one thing for sure... that there is hope. Hopefully lockdown has permitted us the chance to reflect on the world we live in and how it works. Hopefully we will use the information and the experience that we have gained in order to create a better, brighter future. One where we care more for the environment and prioritise spending time with loved ones over slogging endlessly away at work.

By Frances Hudson      

'Eleanor Oliphant is completely Fine' by Gail Honeyman book review

Eleanor Oliphant is completely Fine' by Gail Honeyman is a deeply emotional book which I would definitely recommend. It follows our protagonist Eleanor- an outsider regarded by her co-workers as weird and strange- as she unknowingly suffers from severe loneliness. Eleanor leads a basic life... she goes to work, comes home and treats herself to the exact same two bottles of vodka to drink at the weekend every single week. Her existence is incredibly monotonous- she even wears the exact same outfit to work every day- and is profoundly alone. She has no friends, no family (aside from the uncomfortable calls from the sinister and creepy 'Mummy' which are the only slight difference punctuating Eleanor's drably repetitive life). At first it appears that Eleanor is content with her mundane life or that she at least doesn't mind the lonely, tedious nature of her day-in, day-out routine but then a series of events happen which end up flipping her life upside down. It's an emotional read... heart-warming in places, heart-wrenching in others. 

What's so great about the book, as well, is that all the characters feel real. I think that in many books characters can feel one-dimensional, as if the author has simply thrown them into the story to prove a point or fill a trope or just for the sake of it... and whilst it's true that not every single character has to serve a purpose, per se, sometimes it just leaves the reader questioning 'why'? plus it breaks the story up when this happens because the characters feel unrealistic and, worst of all, unrelatable. But this doesn't happen in 'Eleanor Oliphant is completely Fine'. All the characters feel very authentic, especially Eleanor herself whose particular personality and quirks are displayed in a very convincing manner which intrigues the reader and leaves them wondering why she is the way that she is. Furthermore I found the style of the writing in the book enjoyable. It manages to strike a fine line between humour and the discussion of serious topics (such as mental health) in a way that isn't too heavy but not too light-hearted or trivial either. The writing style is also quite seamless. One of the major plot lines in the book focuses on the mystery of Eleanor's past, and little indications as to what actually happened are fed to the reader throughout the book, but it's done in a clever, subtle way that doesn't feel like an onslaught of clues and it doesn't distract from other plot lines and aspects of the story. The mystery of her past isn't revealed to the end of the novel. As I was reading the story I did suspect some form of twist- partially because twists are kind of all the rage in books at the moment and partially because there was a genuine build-up in the story that led you to believe something shocking was going to happen- and I was right. There was a twist at the end of the book -as is the norm- but it was a genuinely surprising twist  that I didn't see coming. 

Overall this is a really gripping book. I struggled to put it down because I just wanted to find out what happened next. If you enjoy books that focus mainly on characters and emotions as opposed to intricate plot lines and events, then I would definitely recommend this book to you. As I said before the writing style is very smooth and seamless and I look forward to reading more potential books from Gail Honeyman in the future (currently 'Eleanor Oliphant is completely Fine' is Honeyman's only book). I think that this story is excellent and thought-provoking and one that I will return to time and time again. But don't just take my word about how great this book is... I'm clearly not the only one who has thoroughly enjoyed this novel if the multitude of praise from the book community alongside the multiple awards the book has won is anything to go by. 

By Frances Hudson 

The future of fashion

The devastating coronavirus pandemic has truly infiltrated every area of society. It has tragically affected every industry, every business and every person (whether they themselves or a loved one has been struck with Covid-19)  in some shape or form. However one industry in particular has been severely, severely affected: the fashion industry. The question is has the industry been affected for better or for worse? Will the industry change? And what is the future for fashion?

It was during the fall 2020 fashion month season that the coronavirus began to rapidly circulate, consequently generating the drastic closing of numerous stores and boutiques, the cancellations of  many upcoming runway shows and major fashion events (such as the CFDA awards and the Met gala)  and leaving countless workers furloughed with some shops even having to file for bankruptcy. In short the Covid-19 pandemic has triggered an unfortunate series of  drastic financial and production losses in fashion which poses the question for both those in the industry and those outside peeking in with curiosity: what does all of this mean for the long-term and how is fashion going to adapt to survive in these unprecedented circumstances? 

It is particularly the logistics of the fashion weeks and runway shows that intrigue me. How will it all work? How will it be possible to hold these shows when the audience has to somehow stay socially distanced, as do the models on the catwalk? Especially when considering the intricate complications of this alongside quarantine rules, travel restrictions and different parts of the world being under lockdown, than it seems perceptibly impossible to believe fashion week will occur anywhere at all. And yet... multiple brands have proved this isn't true. Despite fashion weeks across the globe having been cancelled as a direct result of Covid-19 brands have built alternative ways of presenting their collections to the press and public such as attendees watching the show from home via livestreams instead of physically having to attend a venue where coronavirus could potentially be spread. 

This solution is a clever one and could suggest a fundamental change in how collections are delivered in the future. After all, it is the most probable long-term antidote to the problem of post-coronavirus runway shows. What could be easier than simply watching the collection being displayed through a series of fast-paced fashion films? However it is not without its faults. You could argue that watching the collections through a phone or laptop screen doesn't possess the same joy or visceral thrill as experiencing a show first-hand undoubtedly does. Many believe that what makes the clothes displayed so spectacular and exciting isn't the garments themselves but how the designer chooses to showcase them. A show can evoke emotions and ideas that otherwise would not be attached to the clothes and witnessing a show through livestream threatens to take this away, which could make the whole runway affair somewhat drab and less dimensional than if the collection were to be viewed in person.  This means either one of two things: that we, as consumers, need to learn not to purely rely on just the shows to inform our interpretations of the collections and find sufficient enjoyment in just the clothes themselves, or that this is not a good enough solution to move forward with in the fashion industry. It seems the latter is the more prominent answer with the negatives of this idea forming a long list. Undeniably, fashion weeks and runways shows are a massive (and some would suggest integral) section of the way fashion currently works. So many components of the industry are linked to the fashion weeks... in fact, one of the main problems that crop up with runway shows via livestreams is the fact that certain sectors within the industry (such as streetstyle photography) rely signifigantly on the fashion weeks. If the runway shows were to be permanently shown online than these sectors would struggle to survive.

It is clear that what will happen to fashion weeks and runway shows poses a massive question mark in regards to the future. However, if there are any lessons to take away from this time (and I believe there is) it's that the industry needs a change- and that it has needed a change for a long time now. It is simply not sustainable for things to carry on the way they are with houses churning out multiple collections for the fast-paced seasons (fall/winter, spring/summer, resort, pre) each year.You could wonder if the reason for the industry not changing for so long is based on an outdated business model wholly focused on economic gain rather than the creativity and beauty of fashion. Recently I was listening to one of my favourite podcasts 'Fashion No Filter' by Camille Charriere and Monica Ainley and they talked about how fashion may be improved if the pressure of creating so many collections a year was removed from designers. In the music industry it's not expected of artists to hurriedly produce a specific number of albums a year. Rather the musician is given time to perfect their creations- and this is a system which could be greatly beneficial to fashion. Rather than having a set period of runway shows and a certain number of seasons a designer needs to design for, maybe it would be better if designers were really given the time they needed to birth something special and meaningful rather than just having their creativity forced? That way they could choose when to display collections and collections would grow more strong and powerful.

At the end of the day, whatever solution the industry finds it's important to take in to consideration all the positive sectors and facets of the industry today so that nobody is left behind and so that fashion can still continue to thrive in all it's magnificent glory- just in a healthier, more sustainable manner.

By Frances Hudson

 

Thoughts on boredom

I don't know about you but in the recent long, dwindling hours of the lock down days caused by the devastating and tragic Covid-19 a particular emotion has gripped the nation- the world, in fact- that has led to a strange discovery. Aside from the obvious and understandable fear that has clamped down on everybody of the deadly coronavirus that has rapidly spread across the globe like wildfire, there is another emotion festering underneath the surface of the general population... boredom!

A lazy, nonchalant boredom which has lingered in the air for the long duration of confinement. With restrictions aplenty and many jobs temporarily put on hold, lock down meant many were left at home -not allowed to leave for the foreseeable future- with no idea of what to do or how to fill the time. In other words: bored. And although boredom is... well, boring... I've discovered over the course of the (seemingly never-ending) time we spent confined in our homes that boredom is actually a very useful and productive tool. 

Of course, it goes without saying that lock down was an extremely stressful time for everyone and nobody should have felt pressurised to be constantly creating or producing or thinking. The most important aspect of lock down (or any other difficult, emotional experience) should be centred on people's safety and mental health. Also many had important priorities that needed to be placed at the top of the to-do list such as home-schooling, working from home, caring for family, ect. Yet there was still a massive percentage of the nation who felt bored in lock down, who regularly found themselves splayed on the sofa having previously exhausted all viable television options showing, repeating the glum mantra of 'I'm so bored, I have nothing to do,I'm so BORED, there's absolutely nothing to do'. 

Previously I would've found this boredom challenging and tedious, allowing it to accumulate into an angry ball of sadness and frustration in the pit of my stomach which would leave me restless and unsatisfied for the rest of the day. But now I have come to see boredom for what it really is: a trusty ally, an old pal, a buddy to lean on in times of need. For it is out of boredom that some of the world's most amazing, inspiring creations have been born. Art and music and fashion and books all synonymous with their their common catalyst. The tiny, flickering ember of boredom nagging away at a person until suddenly it triggers a reaction (an abrupt and magical chemical collision of sorts) and a flame is ignited, eventually morphing into a roaring fire of passion and creativity. Boredom spurs us on. It encourages us to be creative, to sing, to dance, to draw, to write. The problem is that boredom is often seen as a bad thing to try and avoid but this just simply isn't the case. In fact it is such a wondrous device of creation that it's a shock so many go out of their way to prevent it! 

Now that we're out of confinement boredom may not be such a frequent emotion that we're faced with. However it will undoubtedly still play some sort of role in our lives, occasionally cropping up from time to time. I think it's important to remember the way that boredom can be positively manifested and used for the better. Rather than just a swirling whirlwind of impending doom, pent-up anger and burning hot hopelessness it is one of the most powerful tools we have, as humans, in our inventory. Next time the cold beast of boredom hits us in the face and attempts to stare us down with it's dead, glazed eyes we mustn't run away screaming. Instead we should stand our ground and question 'what could I do with this time instead of spiralling into a boredom-fuelled existential dread?' and then we should do that thing, whatever it may be: gardening or baking or cycling or painting or writing a letter to your Gran or choreographing a complicated dance routine to the theme tune of the great British bake off. Than we can glance back at the cold beast of boredom and realise in retrospect that all along the beast was actually a cute, fluffy, baby dragon that only ever wanted to help us out in the first place by secretly coercing us into doing something positive with our time.

In short boredom is seen as scary when really it's an incredibly useful, positive tool when dealt with wisely. 

By Frances Hudson

Nepotism in fashion

There's a recurring theme being constantly repeated between the pages of glossy magazines and strutting down the catwalks of the major fashion brands. You may not have noticed it. It may not have even occurred to you-it is, after all, so ingrained in fashion (amongst other creative industries) that it has became the norm. I am, of course, talking about the nepotism that undeniably exists in the world of fashion today.If you're looking for examples of nepotism in fashion all you have to do is reminisce on the previous couple of fashion awards. For the last 5 years the 'model of the year award' nominations have been dominated by a similar selection of coveted 'mini-me's'.  In fact, it almost seems quite inevitable, doesn't it? And it doesn't stop there. The fashion industry is rampant with nepotism. It has been consumed by the nostalgic surnames and genetically familiar faces of celebrity offspring. It's not just modelling that nepotism in fashion caters for either! Whether it's designing or photography, nepotism is a surefire way to break into fashion.

It's easy to not register this nepotism, but take a moment to glance at the latest ad campaigns, magazine covers and catwalks and you'll undoubtedly discover an unwarranted multitude of the rich and famous's offspring. It seems to be that the new generation of supermodels don't have to possess the determination, perseverance and grit that other models have had to cultivate, nor do they need to put in the time or effort that most do to infiltrate the impenetrable modelling business. In fact, most of the current supermodels today virtually didn't have to do anything to achieve their super successful careers in one of the most unreachable and toughest industries in the world. Nope... instead the sons and daughters of the rich and elite just sat back, relaxed and reaped the rewards of their famous surnames.... and inevitably, will continue to do so. Now obviously, the aforementioned sons and daughters of the rich and elite have been blessed with exceptional genetic make-ups that render them suitable candidates for the role of model. They all have pretty faces and textbook 'perfect' bodies. It's thus suffice to say that I am in no way trying to say that they aren't beautiful. I am, however, commenting that they have had to work nowhere near as hard to thrive in fashion as others have had to work to survive in fashion. It poses the question: would their star-studded careers be anywhere near as impressive without the celebrity parents and the preceding glamorous reputations? The answer is perhaps an almost definite, resounding no. 

Modelling has drastically evolved over time, so much so that it appears a different world to the modelling landscape in the 90's. Gone is the golden age of the supermodel where the common theme between the biggest models was the hard work and dedication they'd put into building up their careers. Whether discovered at an airport, shopping in Covent garden or clubbing in Dusseldorf like some of the most renowned 90's supermodels  the 'rags to riches' story still had to consist of lots of commitment from the models themselves.

I suppose you're wondering why any of this matters? Why should we care? nepotism has always existed- and maybe always will exist- both in and outside of fashion. Why is it suddenly such a big deal? well, i'll tell you why. It's beginning to shift the dimensions of fashion, to irreparably change things, to alter the purpose and meaning of the industry- and in a rather sinister, negative way. Whilst once fashion was used as a creative means of expressing ones self and as a way of conveying important messages through an art form it is now slowly becoming an industry revolving around the blithe, old phrase 'it's not what you know... it's who you know'. We are now at a point where there are two potential futures waiting ahead for fashion. One consists of an industry that no longer fosters or encourages new talent, instead preferring to opt for those already well-established with legions of adoring fans. After all, it doesn't take long to work out that nepotism is an easier option for brands (from a business point of view, at least). Take a young creative only just starting to forge their path in fashion ...the likelihood is that they are are unknown -or even if they are known their following would probably appear tiny in comparison to the following of the likes of current supermodels or creators who are successful on the merits of nepotism. It's understandable that brands would choose someone with an already built-in social media following and a plethora of fans to grace their social media pages - rather than somebody just starting out- in the knowledge that people will likely be more interested in a mini-me celeb than an unknown face. Furthermore many young, talented creatives with fresh, new ideas wanting a job in fashion may lose hope and will decide to choose a less tumultuous, difficult or unpredictable career where 'moving through the ranks' is easier and overall safer.

 

It can be argued that the constant repetition of the same faces, consistently recycled through each catwalk, cover and campaign is responsible for the slow yet sure decline of creativity in fashion. When all we see is the same collection of models and creatives rolled out in front of us we inevitably get bored with the repeated pattern, the pattern that is so repetitive that it has transcended through generations (via famous parents). There's a place for nepotism- it is after all completely understandable. Nepotism is just parents wanting the best opportunities and chances for their children. You can't begrudge them for that. It's instinct,simple human nature- but it shouldn't take up every crevice and corner of fashion. There needs to be space for new individuals to inject their creativity and ideas into the industry. It's the only way to keep fashion passionate and vibrant and colourful and endlessly exciting. In a society where the privileged become more privileged and whether or not you are good enough for the job is judged by elitism instead of tenacity and talent, it is no wonder so many are tempted to opt for 'safer' professions. What with creative industries already inaccessible to many, we should be encouraging new talent instead of just dementedly pushing celebrity offspring to the forefront in some mad publicity stunt.

It goes without saying that this is not the fault of the people who have benefited from nepotism. No. We should not blame them- it is the industry that is relying on nepotism. Perhaps this is out of laziness, perhaps it's fear of the unknown and what will come next in fashion, perhaps it's the desire of 'safeness'. But do we really want a fashion that is 'safe'? scared to push limits, change boundaries? because honestly... I don't think we do. 

By Frances Hudson